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Yellow Vinyl, limited to 350 copies. Two years after their debut, hijss are back with a self-titled second album. Synth-punk crashes headfirst into industrial krautrock and no wave. Throbbing basslines, blown-out fuzz guitars, and relentless drums, drive the whole thing forward without mercy - topped off with synth arpeggios to make sure you won't stand still.

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

"Your prayers have been answered: less songs about Bush and more songs about Jesus!" 20th anniversary pressing of Wolves In Wolves' Clothing. Released in 2006, NOFX's tenth studio album is a blistering blend of aggressive political satire and melodic skate punk. Capturing the sociopolitical anxiety of the second Bush presidency, frontman Fat Mike sharpens his pen to target organized religion, corporate greed, and blind patriotism. Fan favorites like "Seeing Double at the Triple Rock" and "Leaving Jesusland" showcase their signature fast tempos, tight harmonies, and dark humor. Back for good in 2026 on yellow vinyl! Produced by Bill Stevenson at Blasting Room NOFX's critically-acclaimed tenth studio album, songs that go good with a drink! Originally charted at #46 on Billboard 200 and Top 40 in 8+ territories worldwide Features hit singles "Seeing Double At The Triple Rock", "USA-Holes" and "Leaving Jesusland"

For their third album, Under The Reefs Orchestra explores the skies, rides the winds, and communes with the spirits that blow across the world. After making volcanoes roar on Sakurajima (2022) and unveiling a mineral, obsessive, and telluric music, the Brussels trio led by Clément Nourry (guitar), joined by Marti Mélia (baritone saxophone) and Jakob Warmenbol (drums), now opens a new chapter. Recorded at Robot Studio in Ghent by Pieterjan Coopejans,
orchestra also expands with distinguished guests – An Pierlé, Catherine Graindorge, and Alejandra Borzyk – who upset the balance and ignite the embers of improvisation. Surf jazz, cinematic rock, hypnotic trance: Under The Reefs Orchestra continues to roam uncharted sonic landscapes, heirs to Moondog, Adrian Belew, Morphine, and Sons of Kemet. Their ever-adventurous music composes a visionary, incandescent soundtrack for a world in turbulence. Praised by the international press (Earmilk, Spin Magazine – which ranked Sakurajima among the 22 best albums of 2022), the group stands out as one of the most daring projects on today’s vibrant Belgian scene.

2026 Repress

Deadbeat & Tikiman's occasional collaborative performances have since blown the minds of many audiences

Deadbeat. Tikiman. Infinity. Dub. A quadrangle of such obvious statement and perfect musical inference may very well never have been uttered for those of the wholly weeded out persuasion. Indeed, when the great book of Dub music is written the names Scott Monteith and Paul St Hilaire will undoubtedly figure highly in its chapters devoted to recent years. Monteith, the last great prodigal son of the doctrine handed down from the Blue Mount of Lord Scratch and King Tubby, St Hilaire the undisputed voice of a generation, those fanatical warrior monks, followers of the most Holy House of Ernestus and Von Oswald incarnate.

Having developed a fast friendship from their very first meeting in Montreal at the premier Micro Mutek event a decade ago, Deadbeat and Tikiman's occasional collaborative performances have since blown the minds of audiences from Berlin to Tokyo and many points in between. No great surprise then that their first album length venture is a Tour de Force of Dub music of the highest order.

Nearly a year in the making, the genetic code of Deadbeat's Infinity Dubs series gets shot through with a Dreader than Dread Kingstonian logic, hi hats dropping back from the three to the one, Tikiman at his most militant, poetic, fierce, and flowing. These are the recordings of two lions uncaged, and none who bare witness shall escape their fiery judgement.

If music is truly eternal, here be two voices which shall echo in infinity with all the weight, reverence, and dire power unleashed with every tectonic bass hit, and every whimsical turn of phrase. And if these eight burnt offerings are any indication of what happens when these two sit down for a session of smoke and reasoning, here's hoping they choose to do it frequently. Dub without end. Ad Infinitum.

For theirthird album, Under The ReefsOrchestra explores the skies, rides the winds, and communes with the spirits that blow across the world. After making volcanoes roar on Sakurajima (2022) and unveiling a mineral, obsessive, and telluric music, the Brussels trio led by Clement Nourry (guitar), joined by Marti Melia (baritone saxophone) and Jakob Warmenbol (drums), now opens a new chapter. Recordedat Robot Studio in Ghent by PieterjanCoopejans, orchestra also expandswith distinguished guests - An Pierle, Catherine Graindorge, and Alejandra Borzyk - who upset the balance and ignite the embers of improvisation.Surf jazz, cinematic rock, hypnotic trance: Under The Reefs Orchestra continuesto roam uncharted sonic landscapes, heirs to Moondog, Adrian Belew, Morphine, and Sons of Kemet. Their ever-adventurous music composes a visionary, incandescent soundtrack for a world in turbulence. Praisedby the international press (Earmilk, Spin Magazine - which ranked Sakurajima among the 22 best albums of2022), the groupstands out as one of the most daring projectson today's vibrant Belgian scene.

Tommy McCook was not only a founding member of the legendary Jamaican Ska group The Skatalites, but also a brilliant musical arranger. His informed understanding of Jazz, R&B and in fact most music styles would always add another layer to any song put his way. This made him the go to guy for most of the Jamaican producers, who would use his arrangement skills to pepper up their latest tunes.

Tommy McCook, (b1927, Havana, Cuba) came to Jamaica with his mother from Cuba aged 11 and entered renowned Alpha Boys School for underprivileged children, a school that placed great emphasis on musical tuition. At the tender of 14, such was his talent he has left to join Eric Deans Orchestra and took on stints with other bands led by Don Hinchman and Roy Coburn. All the bands played in the Swing and Jazz style of the times. He relocated to the Bahamas in 1954 where he further developed his Jazz technique and upon his return to Jamaica in 1962 began working Coxsone Dodd’s Studio One and became involved in the development of Ska. His knowledge of Jazz, R& B and Jamaican musical forms helped set the tone for the group of musicians he was working with and would name the Skatalites. The group, consisting of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Jackie Mitoo (Piano), Lloyd Brevett (Bass), Lloyd Knibbs (Drums), alongside Tommy himself on Tenor Saxophone. The group would back all the major Ska vocalists pf the day and would also go on to cut a catalogue of instrumental music. The Skatalites split up in 1965 and Tommy McCook moved over to work with Duke Reid’s Treasure Isle Studios where he formed The Supersonics. A set of musicians under his guidance that consisted of Lynn Tait and Ernest Ranglin (Guitar), Neville Hinds and Winston Wright (Organ), Gladstone “Gladdy” Anderson (Piano), Hugh Malcolm and Arkland “Drumbago” Parks (Drums), Clifton “Jackie” Jackson (Bass), and Tommy and Hernon Marquis (Saxophone). The more laid back sounds from 1966-1968 would be given the name Rocksteady of which again McCook was at the forefront. The top producers like Bunny Lee would use the musicianship of Tommy McCook and his arrangement skills to enhance this new sound.

We have compiled a great selection of rhythms that featured McCook blowing over tracks stripped of their vocals and replaced with some fantastic lead lines played by Tommy and some of his fellow horns men.
We hope you agree like we do that they do this in fine style.

Deaf Star is a shoegaze / noise-pop / electronic project founded in San Francisco and now based in Barcelona, Spain. Rooted in melancholy-driven personal songwriting, the project drags those intimate impulses through blown-out textures, crude production, bass-heavy electronics, and walls of distortion, arriving at a sound that feels both fragile and annihilating.
Drawing from the jet-engine narcotic haze of Astrobrite, damaged intimacy of Sebadoh, nocturnal drift of Bowery Electric, dubwise productions of Andy Stott and The Bug, Deaf Star occupies a space where beauty is constantly on the verge of collapse, where “the nightmares were rehearsals”.

The album was mastered by Simon Scott (Slowdive) and features a collaboration with Dania.

All music by Ivan Zoloto, except 4 (with Dania Shihab). Voice message on 8 by Danielle Lefczik. Recorded and mixed in San Francisco, Belmont, and Barcelona. Mastered by Simon Scott. Photography by Nina Rathbone.

Ezra Collective's Here Because Of Hope is the most ambitious and personal record of their career - conceived as a body of work split into three spiritual and geographical movements, the album traces the movement of Black people across continents and decades, from the music of Africa to the rhythms of the Caribbean, and home to the streets of London. Formed in the youth clubs of London, Mercury Prize and BRIT Award-winners Femi Koleoso, TJ Koleoso, Joe Armon-Jones, James Mollison and Ife Ogunjobi have now spent over a decade making jazz joyful, urgent and undeniable. On Here Because Of Hope, they push that vision further than ever, asking a simple but profound question: why does so much Black music born out of pain sound so joyful? Their answer is hope: the belief, carried across generations and oceans, that something better is possible. Anchored by collaborations with Pa Salieu, Lila Iké, Leona Lewis, and reaching across the full breadth of the global African diaspora (including America, where those same African and Caribbean roots gave birth to jazz itself) Here Because Of Hope is a record of remarkable warmth, ambition and humanity, and the sound of Britain's most vital band at the peak of their powers.

At the heart of ‘Diese Fragile Praesenz’ lies a melancholic yet propulsive drone, constructed from a field recording and drenched in white noise. Around this softly glowing orb Kelovolt constructs a vast, shifting, sombre soundscape. Lush, magisterial pads, starry-eyed synth work, cold washes of tape hiss and static melt in and out of the mise-en-scène. Crumbling walls of bass and distortion collapse in slow motion even as rich, brasslike harmonies elevate the listening mind. Long keening synth notes emerge from the fog, intertwining with falling tubular figures, a journey through a wormhole of sound both monumental and fragile.
The accompanying reinterpretations approach this deeply rich source material with discerning reverence. Voltmar's version deepens the grain of the original, with sharper percussion and washes of static that blow through the mix like little gales of dust. Anthony Linell's PM and AM remixes delve into a darker emotional core, placing at the centre a low, shadowy synth pulse around which mists of tape hiss and distortion swirl. Black Merlin steers the track down the path of eerie psychedelia, echoing clicks and dubwise space around a groove often found in the deeper chasms of contemporary techno.
Elsewhere, Die Wilde Jagd stretches the original into a mesmeric landscape of drones, occasional distant percussion and heavy fog, punctuated by fleeting moments of melodic clarity and beautifully resonant bell tones. CV313's pair of reworks complete the collection by exploring two complementary dimensions of the original through his signature dub approach. The Gravitational Pull mix feels the most true to the title track, amplifying its starry-eyed, celestial qualities, with a softer, hazier version built around a deep bass groove, while the Dimensional Dub descends into vast caverns of echo, resonance and alien texture - strong dub-techno sensibilities loom large in this mix.
Endlessly contemplative, endlessly exploratory, minimood027 is a trip to its own sonic galaxy that spirals inexorably outward, carrying the mind to ever wider astral planes. But at the core is that ever-pulsing drone, the black abyss that draws consciousness powerlessly back into the great nothingness.

Piano Works 2016-2026 collects fourteen impromptu pieces by composer and producer John Carroll Kirby, written whenever he had the opportunity to sit at a piano while on the road. These mostly solo works for piano were recorded in Los Angeles, Rome, Tokyo, Wollongong (Australia), rural New Zealand and London. Piano Works marks a departure from the full-band sound of recent albums Blowout and Septet, which Kirby has spent the past years performing live around the world. The album is a study in piano repertoire: Baroque, Romantic, Impressionist, jazz, minimalist, atonal, and more. Most of the pieces have an impromptu feel - improvised, or meant to sound improvised, or at least written in one sitting. The collected pieces on Piano Works are a document of Kirby's life as a piano player and touring musician, and "serve as the melodic / harmonic lexicon for what would inform all my other compositions of the past ten years." John Carroll Kirby has scored two feature films, and his solo piano song "Walking Through a House Where a Family Has Lived" formed the score for Oscar-nominated short film Retirement Plan.Fans of John Carroll Kirby's cult favourite solo album Conflict will find plenty to love in Piano Works 2016-2026.

It’s been one hell of a wild ride for Wine Lips. Originally formed in Toronto back in 2015 as a part-time project between Cam Hilborn (vox, songwriter, guitar) and drummer extraordinaire Aurora Evans, Wine Lips quickly escalated into a full-blown, full-time, full-on international phenomenon. Their debut album took them across North America followed immediately by an intensive and unexpected tour of Hong Kong and China in 2018. They released their massive “Stressor” album the very next year (2019) to rave reviews and massive critical acclaim. Multiple tracks from Stressor charted across North American and European radio, while several songs ended up being featured in broadcast and Netflix series. Endless touring ensued. Then 2020 happened. The band used their mandatory downtime to fully dedicate themselves to crafting their groundbreaking third full-length “Mushroom Death Sex Bummer Party” (recorded by Simon Larochette at The Sugar Shack). The record was released in October 2021 and then shit really hit the fan. The international music press lost their collective minds, penning over 250 glowing features and super positive reviews spanning 35+ countries. At the time of writing, the album blew past 40 Million spins on Spotify alone.

The vinyl release of MDSBP is currently in its 7th pressing with 9 different colour variants. The lead track “Eyes” has been licensed to a metric ton of films, series and video games including ABC’s The Rookie, Hockey Night In Canada and Population 11. Even more endless touring ensued, except this time the venues were huge and mostly sold-out. The 2024 follow-up album “Super Mega Ultra” was an absolute beast. Recorded by Simon Larochette at The Sugar Shack in Ontario, the album packed 12 ramped-up supersonic ear-scorching auditory delicacies and racked up millions of plays.

The second volume of this (already) cult series of British proto-metal compilation albums. Every artist on here was a regional band in their local underground scene of the late 1960s/early 1970s. The main thing that differentiates this series to any other, is the fact that none of the artists included had any kind of commercial release during their existence (apart from Fusion Farm, who self-released an extremely rare private press LP titled 'Rush Job' in 1971). All the artists were discovered after extremely lengthy searches of old music magazines, local newspapers, concert posters, government agencies.... By any means possible! It was a lot of work, but the results speak for themselves. The one thing that joins all these bands together (apart from being exclusively British), was their desire to play as loud and heavy as possible. This was a magical era in rock music, where Black Sabbath were the undisputed kings, but the industry simply didn't want to recognise the countless other band that existed in their gloomy wake. All of the recordings on Yeah Man, It's Bloody Heavy! are taken from demos, whether originating from crusty old 1/4 inch tapes, dusty acetate discs or third generation cassette tapes. Basically, whatever format was available. As a result, sound quality varies, though we did our utmost to get these precious artefacts sounding as killer as possible. For instance, Bonehead were close friends of Led Zeppelin. Their guitarist/vocalist Paul Lockey had previously played with Robert Plant and John Bonham in the Band Of Joy. Their track, 'Free To Escape', was actually an audition tape for Atlantic Records, which had been instigated by Robert himself. Unfortunately, the band broke up not long after the recording. So, their recording is top notch, whereas others were taken from rehearsal tapes (such as Fusion Farms' - Keys To Hell). But the main thing is, there's a spirit that unites them all. Sit back, roll up a fat one and let your mind be blown by the obnoxious sounds and sheer weight of vintage gravity that is: 'Yeah Man, It's Bloody Heavy! Vol 2'.

After making waves in the underground with their first release, psychedelic techno explorations from Winkles, A Sky Full Of Numbers head to the shoreline with a five tracker of misty electronica from Japan’s The Rituals, the new collaboration between Tasoko and DOLTZ. Across acclaimed releases on Explore, Bitta, and Delsin, the duo have separately explored deep techno, ambient, acid house and IDM, showcasing innovative sound design and spacious, understated grooves. For AFSON, the duo apply their unique point of view at a lower tempo, pulling away from the peak time to deliver a shadowy journey through dewy electronics.
Opening transmission 503M feels like tuning into a damaged frequency somewhere beyond the cloud line. Misty lead synths slither through blown circuitry while buzzing sequences and short-circuiting percussion crackle against purring bass pressure below.
There’s an eerie electricity in the atmosphere, as if the track’s been exposed to too much heat and left glowing softly in the dark. From the opening bars, The Rituals instantly establish their ability to make techno feel both mechanical and hallucinatory.
Ugan sees the duo descend deeper into the haze. Reverb-drenched synth motifs hover like distant lights through thick fog while a propulsive dub bassline locks into loose electro-funk rhythms beneath. There are echoes of hauntological electronics and early IDM experiments here, but The Rituals avoid nostalgia entirely, steering the track instead towards something crepuscular and alive.
Stepping out of the shadows, Broken Frog Lamp pushes forward on a rolling rhythmic framework as melodies slowly force their way through layers of sea mist and static interference. Atmospheric without losing momentum, the track balances submerged emotional weight with hypnotic forward motion.
The mood softens but never dissipates on Salty Air, a damp and dewy excursion into dubbed-out psychedelia. Rainfall ambience, skittering stone percussion and swelling pads fold around sliding sub bass and filtered stabs, while jazzy cymbals and syncopated hats gently pull the track forward, as the condensation clings to the hardware.
Closing cut “Night, Castle, Reflection” drifts into darker territories, where redlining drums and pulsing low-end pressure throb beneath thick layers of saturated texture. Woozy synth work smears against tightly controlled rhythms, creating an immersive and slightly uneasy atmosphere that closes the EP at its most introspective point.
Taken as a whole, the EP transports you into the midnight hour, when the comforting embrace of stillness can easily nudge you towards hallucination, dissolving the boundaries between dream state and dancefloor hypnosis.

For the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

Released in 1991, the Cramps’ “Look Mom No Head!” is a stone-cold classic.
As well as black vinyl, it was also released on red and Ace are delighted to give fans old and new the opportunity to restock their vinyl blood bank with that delicious colour.

Carpark are the kind of band that turn everyday frustration into something loud, sharp, and impossible to ignore. Their debut EP *Born to Be Average* leans into the chaos of modern life with biting lyrics, jagged guitars, and a raw, unfiltered energy that feels both familiar and defiantly unpolished. Across five tracks, they blur the line between self-deprecation and quiet rebellion, capturing the sound of a generation stuck somewhere between apathy and ambition. It’s messy in all the right ways: honest, hooky, and built to be played loud on repeat. Pressed on vinyl, this release isn’t just a record, it’s a statement that being “average” was never really the point.

Remastered und mit zahlreichen Bonustracks versehen: Cherry Red wiederveröffentlicht das vierte Album von Dinosaur Jr., das ursprünglich 1991 auf Sire Records erschien, als Deluxe-Doppel-CD mit Singles-A- und B-Seiten sowie einem Konzertmitschnitt von 1991.

John Tchicai (1936 – 2012) was one of the most important free improvising saxophonists of the 20th Century: an artist of rare vision and aptitude whose lines soared and stood out even in the most hallowed company, and whose body of work as a leader / composer is among the most singular and distinct within the entire canon of that music. But Tchicai’s importance doesn’t end there. Born in Copenhagen, Denmark, to a Danish mother and a Congolese father, his life and career represent a crucial bridge between the European and American traditions of free jazz. Initially trained on violin as a child, Tchicai shifted his focus to the clarinet and alto saxophone during his mid-teens, and began touring Europe as a professional musician by his early 20s, which landed him at a socialist youth festival in Helsinki, Finland, where he met the trumpeter Bill Dixon and saxophonist Archie Shepp. Impressed by what they heard, Dixon and Shepp encouraged the young saxophonist to move to New York, and in so doing changed the history of jazz forever.

Tchicai’s arrival in New York marks the rare occurrence of a European player joining the intimate circle that was first wave of American free jazz. Following his landing in the city in November of 1962, in addition to regularly sitting in with Don Cherry’s group, Tchicai began playing with Bill Dixon's band alongside Archie Shepp and Roswell Rudd, forming the nucleus of the foundation of the New York Contemporary Five - one of the most important groups of the era - which counted Tchicai, Shepp, Cherry, Don Moore, and J. C. Moses as its members. From the ashes of this group, Tchicai would go on to found the legendary ensemble, New York Art Quartet, with Roswell Rudd, Milford Graves, and Lewis Worrell, as well as working within Albert Ayler's band, recording “New York Eye and Ear Control”, Shepp’s band, recording “Four for Trane”, the ensemble that recorded John Coltrane's “Ascension”, and the Jazz Composer's “Orchestra”.

By the time he decided to return to Denmark in 1966, had Tchicai chosen to record little else, his legacy within the history of music would have been ensured. Incredibly ambitious, his arrival home marked the beginning of an incredible period of activity which saw him radically expanding his creative explorations, which by the end of the decade would include becoming a founding member of Amsterdam's Instant Composers Pool and helping to record John Lennon and Yoko Ono's “Unfinished Music No.2: Life with the Lions”. This, however, was proceeded the formation of a new orchestra, Cadentia Nova Danica, led by Tchicai, dedicated to radical cross-disciplinary exploration. Remaining together between 1966 and 1971, the group and its shifting membership regularly fell into collaboration with artists and composers, notably Musica Elettronica Viva, who existed beyond the realms of jazz, as well as participating within multi-media events that incorporated the visual realms.

Cadentia Nova Danica’s only two LPs - “Cadentia Nova Danica” (Polydor, 1968), and “Afrodisiaca” (MPS, 1969) - are effectively Tchicai recorded efforts as a leader, and are legendary. There’s little mystery, once heard, why the later landed on Thurston Moore’s iconic “Top Ten from the Free Jazz Underground”, published by Grand Royal in 1996. Sadly, despite playing extensively during their five year run, with exception of a CD documenting a performance at Jazzhus Montmartre, in 1966, until now there has been no other publicly available recordings that allow us to capture a glimpse of this astounding band at work. Alga Marghen / Formalibera’s vinyl pressing of a never before released body of recordings, made in Copenhagen between 1969 and 1970, changes that in the most exciting of ways.

Comprising three pieces - “Mc Gub Gub, (I–VIII)”; “Ode to Skt. John”; and “Pladepip” - the material on this stunning LP comes from two specific events. The first, which encompasses the first side, “Mc Gub Gub, (I–VIII)” was recorded by Cadentia Nova Danica - in this instance, Tchicai, Sune Weimar, Theo Rahbek, Christian Kyhl, Niels Holt, Jørgen Thorup, Michael Schou, Morgens Bollerup, Allan Gregersen, Ole Matthiessen, Pierre Dørge, Willy Jaegert, Anthony Barnett, and Jon Finsen - on May 29th, 1969, at the ABC-Theatre in Copenhagen. Penned by Tchicai, the piece is a sprawling, evolutionary composition at the outer reaches of free jazz, rooted in large blocks of colliding tonality and rhythm - a sound only accessible to larger ensembles - that push territories explored by Charles Mingus to previously unimagined heights, threaded by moments of hard blown fire. Writhing like a stormy sea - skronking and devilish - “Mc Gub Gub, (I–VIII)” is a work of profound complexity that singlehandedly illuminates not only Tchicai’s singular vision as a composer, but also the power and uniqueness of Cadentia Nova Danica during the band’s most vital period.

The two pieces - “Ode to Skt. John” and “Pladepip” - taking up the flip side, were recorded on February 21st, 1970, at the Danish Broadcasting Corporation’s Radio House, and are the outcome of Cadentia Nova Danica’s extended residency there between 1969 and 1970. In many ways, these two recordings offer some of the best insights into the broad collaborative approaches that defined the band, in this case encountering them working with Danish experimental composer, Svend Erik Werner, who was among the earliest in his country to embrace stylistic pluralism and the use historical forms within a modern context. “Ode to Skt. John” - based on aspects of Gregorian music - was penned by Werner, incorporating heady improvisation by the members of Cadentia Nova Danica, this time made up by Tchicai, Sune Weimar, Hugh Steinmetz, Theo Rahbek, Christian Kyhl, Michael Schou, Morgens Bollerup, Ole Kühl, Torben Enghoff, Mauritz Tchikai, Kjeld Ipsen, Willy Jaegert, Ole Matthiessen, Ole Thilo, Pierre Dørge, Steffen Andersen, Jon Finse, and Clause Bøje. The piece is a fascinating binary of the composed and improvised, utilising the band’s large scale to introduce a remarkable sound within its slow progressions and furious, driving free moments, in this incredible meeting of worlds.

The album’s final piece, “Pladepip”, is arguably its most historically significant: an entirely singular piece, unlike anything in Tchicai’s recorded canon as his foray into musique concréte. Drawing upon two recordings of full-band improvisations by Cadentia Nova Danica, for its creation Tchicai also gouged the surfaces of 78rpm records in his collection to skip and create repeated phrases and patterns, creating a stunning sound collage of hard angles and abrupt phrase, that creates a striking counterpoint to the band’s flowing improvisations that bookend those passages. The result is an engrossing listen and easily one of the most unique and culturally important gestures in the entire history of musique concréte.

Truly incredible, Alga Marghen / Formalibera’s vinyl pressing of this never before released body of recordings, made by John Tchicai’s Cadentia Nova Danica, in Copenhagen between 1969 and 1970, offers an unprecedented window into one of the most important groups working in Europe during that period, significantly expanding their rare and slim discography to date. Accompanied by extensive exploratory liner notes by veteran jazz writer, Ed Hazell, this is easily one of the most historically important archival releases of the year and is impossible to recommend enough. Absolutely essential on every count.

Miles Davis embraces yet another form of modern music: Hip-Hop in collaboration with Easy Mo Be

aisie returns with a transformative descent into the darkness, assembled entirely from snippets of obscure educational science shows, ghost station radio transmissions, vinyl record detritus and blown-out microscopic field recordings.

Twisted into mystifyingly revelatory aural documentations of moments that never were, it unfolds like a dream sculpted out of shadows. Enchanting, enigmatic and elusive like the origins of the source material used for its creation.

Es sind fünf hektische, chaotische, zermürbende, völlig durcheinander gewirbelte Jahre. Es sind all die mühsamen Missverständnisse einer fünfjährigen Beziehung, verzerrt und zu einer absurden schwarzen Comedy-Miniserie auf Vinyl gedehnt. Es ist der Klang all unserer Streitgespräche, die gleichzeitig erklingen. Es sind mehrere aufeinanderfolgende Sprachnachrichten, die nicht angehört, sondern stattdessen als Transkript gelesen wurden. Es sind fünfzehn Songs des ikonoklastischen Rappers Mike Eagle und des innovativen Produzenten Kenny Segal. Es ist das weltweit erste halb skurrile Trennungsalbum. Es ist "DOOMED!", es ist auch LA. Vielleicht nicht in erster Linie, aber Los Angeles ist tief in der Gegenwart und der Geschichte dieses Albums verwurzelt. Die Geschichte jeder Großstadt ist auch eine Geschichte von Zugezogenen. DJ Premier in New York, Tupac in Kalifornien. Wenn man es aufbaut, werden sie kommen. Mike und Kenny kamen beide als junge, aufstrebende Künstler nach LA, angezogen von der Szene rund um die bahnbrechende Rap-Crew Project Blowed. Sie sind seit fast zwanzig Jahren befreundet - und arbeiten gelegentlich zusammen. Trotzdem ist "DOOMED!" das erste Mal, dass die beiden ein komplettes Werk gemeinsam geschaffen haben. Aber alles geschieht zu seiner Zeit, und das Schicksal hat sie genau in dem Moment zusammengeführt, der es dem Duo ermöglichte, etwas Außergewöhnliches zu schaffen. Mike, der gerade eine Reihe von Alben mit mehreren Produzenten hinter sich hatte und das Ende einer turbulenten Beziehung verarbeitete, brauchte eine kreative Katharsis. Kenny hingegen hatte sich nach einer Reihe von hochgelobten Kollaborationen - nicht nur mit Rappern wie billy woods und K-the-I??? - sondern auch mit dem Jazz-Trio Human Error Club und dem bluesigen Indie-Rocker Benjamin Booker - auf seine nächste Herausforderung festgelegt. "In den letzten Jahren machte Kenny sehr deutlich, dass er nicht einfach weiterhin ein oder zwei Beats für meine Projekte beisteuern wollte; er wollte etwas aufbauen", erklärt Open Mike Eagle. "Ich konnte ihn davon überzeugen, mir ein paar Beats für Neighborhood Gods Unlimited zu überlassen, mit der Maßgabe, dass wir uns als Nächstes auf unser gemeinsames Projekt konzentrieren würden. Dann zerbrach meine Beziehung, gerade als wir mit der Arbeit begannen, und ich dachte mir: Perfekt, dazu habe ich eine Menge zu sagen."

Es sind fünf hektische, chaotische, zermürbende, völlig durcheinander gewirbelte Jahre. Es sind all die mühsamen Missverständnisse einer fünfjährigen Beziehung, verzerrt und zu einer absurden schwarzen Comedy-Miniserie auf Vinyl gedehnt. Es ist der Klang all unserer Streitgespräche, die gleichzeitig erklingen. Es sind mehrere aufeinanderfolgende Sprachnachrichten, die nicht angehört, sondern stattdessen als Transkript gelesen wurden. Es sind fünfzehn Songs des ikonoklastischen Rappers Mike Eagle und des innovativen Produzenten Kenny Segal. Es ist das weltweit erste halb skurrile Trennungsalbum. Es ist "DOOMED!", es ist auch LA. Vielleicht nicht in erster Linie, aber Los Angeles ist tief in der Gegenwart und der Geschichte dieses Albums verwurzelt. Die Geschichte jeder Großstadt ist auch eine Geschichte von Zugezogenen. DJ Premier in New York, Tupac in Kalifornien. Wenn man es aufbaut, werden sie kommen. Mike und Kenny kamen beide als junge, aufstrebende Künstler nach LA, angezogen von der Szene rund um die bahnbrechende Rap-Crew Project Blowed. Sie sind seit fast zwanzig Jahren befreundet - und arbeiten gelegentlich zusammen. Trotzdem ist "DOOMED!" das erste Mal, dass die beiden ein komplettes Werk gemeinsam geschaffen haben. Aber alles geschieht zu seiner Zeit, und das Schicksal hat sie genau in dem Moment zusammengeführt, der es dem Duo ermöglichte, etwas Außergewöhnliches zu schaffen. Mike, der gerade eine Reihe von Alben mit mehreren Produzenten hinter sich hatte und das Ende einer turbulenten Beziehung verarbeitete, brauchte eine kreative Katharsis. Kenny hingegen hatte sich nach einer Reihe von hochgelobten Kollaborationen - nicht nur mit Rappern wie billy woods und K-the-I??? - sondern auch mit dem Jazz-Trio Human Error Club und dem bluesigen Indie-Rocker Benjamin Booker - auf seine nächste Herausforderung festgelegt. "In den letzten Jahren machte Kenny sehr deutlich, dass er nicht einfach weiterhin ein oder zwei Beats für meine Projekte beisteuern wollte; er wollte etwas aufbauen", erklärt Open Mike Eagle. "Ich konnte ihn davon überzeugen, mir ein paar Beats für Neighborhood Gods Unlimited zu überlassen, mit der Maßgabe, dass wir uns als Nächstes auf unser gemeinsames Projekt konzentrieren würden. Dann zerbrach meine Beziehung, gerade als wir mit der Arbeit begannen, und ich dachte mir: Perfekt, dazu habe ich eine Menge zu sagen."

Big strides from COZi, the dancer-turned-producer caught in perpetual motion. Movement’s been in the blood from minute one and the influence is undeniable.

Sydney-raised and Austria-based, the Energy In Motion boss steps to X-Kalay with some of the sultriest gear we’ve released. Sexy, groove-first stuff channelling tech and prog house of the '90s and early 2000s: equal parts Danny Howells inkiness, 'Heaven Scent'-era Bedrock and Saeed & Palash at their most potent.

Constructions plunge fathoms-deep into the nether-realm before darting synths and widescreen pads open the floodgates for a full-blown prog ascension. Old school sensibilities at the forefront but zero nostalgia trip.

Caught in a flow state front to back and the dancing years shine through on every groove.

or the first time ever, Los Campesinos! are proud to offer new pressings of their first three studio albums on their very own record label; Heart Swells.
2026 marks the 20th anniversary of LC!’s formation, and coincides with the band being more popular and relevant than ever before. The 3 albums are available for the first time since 2020, on brand new colour ways, on 12” vinyl and CD, with updated artwork and packaging.

What the press said:

“an absolutely astounding album” 4.5/5 - DIY

“Romance Is Boring is a triumph.” - 8.3/10 - Pitchfork

“The fact that the seven-piece manage to make music that is as orchestrated and coherent as it is invigorating is only one of the few astonishing things about them.” - 9/10 Popmatters

“What primarily sets ‘Romance Is Boring’ up as a significant step forward is that it’s incredibly structurally cohesive, and yet blows anything they’ve previously released out of the water in terms of textural intricacy, technical prowess and general experimentation.” - 4/5 NME

2026 Repress

Das Debütalbum des amerikanischen Lo-Fi/Darkwave Künstlers John Maus aus dem Jahr 2006 ist endlich wieder auf LP erhältlich.

Jane Handcock transforms heartbreak into clarity with her new album, It’s Me Not You. Reframing the familiar breakup phrase, this release explores self-awareness,

accountability, and emotional growth with honesty and depth.

Blending atmospheric production with a steady rhythmic drive, Handcock delivers a dynamic vocal performance that moves from intimate reflection to confident,

resonant moments. The result is a mature, empowering album that captures the complexity of modern relationships.

Highlights include themes of irresistible attraction and A Beautiful Woman, a lover’s anthem that sets the tone for the album’s grown-and-sexy vibe.

Jane Handcock transforms heartbreak into clarity with her new album, It’s Me Not You. Reframing the familiar breakup phrase, this release explores self-awareness,

accountability, and emotional growth with honesty and depth.

Blending atmospheric production with a steady rhythmic drive, Handcock delivers a dynamic vocal performance that moves from intimate reflection to confident,

resonant moments. The result is a mature, empowering album that captures the complexity of modern relationships.

Highlights include themes of irresistible attraction and A Beautiful Woman, a lover’s anthem that sets the tone for the album’s grown-and-sexy vibe.

As Is. Nimm es oder lass es. Girl Trouble sind seit ihrer Gründung im Jahr 1984 in ihrer Heimatstadt Tacoma, Washington, ihrem ganz eigenen Stil des Northwest-Garage-Rock treu geblieben. In diesen 42 Jahren, in denen sie dem Ruhm aus dem Weg gegangen sind, hat Girl Trouble in vielen erstklassigen Studios und für viele verschiedene Labels aufgenommen. In den letzten 15 Jahren hat die Band Dutzende neuer Tracks aufgenommen und dabei den Sound gefunden, den sie suchten: etwas Roheres und Echtes. Etwas Neues. Während sie das Experiment fortsetzten, beschloss die Band, alle ihre jüngsten Aufnahmen zu einem ,Rock-Tapestry" zusammenzufassen. Diese Sessions repräsentieren sowohl das ausgefeilte, überlagerte Girl Trouble im Studio als auch das spontane, schnörkellose Girl Trouble live im Raum - genau das, was sie schon immer auf einer Aufnahme festhalten wollten. Das Ergebnis ist das Beste aus diesen beiden GT-Stilen und allem, was dazwischen liegt. Aufgenommen in verschiedenen Klangumgebungen, wobei nur das Songwriting und die Darbietungen von Track zu Track gleich geblieben sind, ist Girl Trouble stolz darauf, endlich diese neue Sammlung von Rock-'n'-Roll-Songs ,As-Is" präsentieren zu können.

”What Parts & Labor have figured out how to do, in a way no one else really has, is to make noise anthemic.” —PITCHFORK “Visions of disaster sound more optimistic with every album.” —THE NEW YORK TIMES “Parts & Labor is … creating rock albums that everyone who cares about rock music should own.” —CHICAGO TRIBUNE ”Part psychedelia, part noise, part all-out rock... exhilarating stuff.” —THE GUARDIAN ”East Coast art-punk with a 21st-century overhaul.” —Q ”A joyous explosion of sound.” —MOJO After a 14-year hiatus, prismatic noise-punk fireworkers Parts & Labor, a beloved institution of Brooklyn's '00s underground, re-emerge with a double-drummer lineup and colossal double album. The 79-minute Set of All Sets (July 10, Ernest Jenning Record Co.) is an expansive, blown-out gush of apocalypse-pop that imagines utopias and confronts the overwhelming weight of the infinite. Their first album since 2011, Set of All Sets finds the band re-energized, rebooted and expanding their punk-kosmische, matching their skyscraping melodies and squelching electronics with hypnotic rhythms and frenzied tumbles of percussion. Parts & Labor co-founders Dan Friel and BJ Warshaw are joined by the simultaneous battery of drummers Christopher Weingarten and Joe Wong — asynchronous members during their critically acclaimed four-album run on indie rock titans Jagjaguwar. The power trios that made 2007's breakthrough Mapmaker and 2011's swan song Constant Future have merged into a single four-piece, at once a brand new vision, a clamorous continuation and a recapturing of the deafening sound of their "final" two shows in 2012. With eight weaponized limbs from two veteran drummers, Parts & Labor surges forth with rhythms inspired by Tanzanian singeli, ecstatic free improv and the motorik of vintage krautrock. Friel and Warshaw beam with the most majestic and triumphant melodies of their career, windswept cascades of bubblegum Boredoms and Big-Music-gone-hardcore.

The Bug and Ghost Dubs relentlessly probe and atomize original material culled from Kevin Richard Martin's critically acclaimed 'Sub Zero' album. ("Monolithic and unforgiving, even by the Bug's standards, representing his most suffocating take on ambient dub yet." Pitchfork). Remixed to punish sound systems and freeze up the dance, both Fiedler and Martin trade fresh, contrasting blows, after their recent IMPLOSION face off album on PRESSURE last year. (Dub/Reggae album of the year, 2025, in 'The Wire') The resulting 4 remixes are every bit as hypnotic and persuasive as you would hope for from productions fresh out the soundlabs of Michael Fiedler aka GHOST DUBS and Kevin Richard Martin under his dancefloor destroying Bug alias. Both producers intensify the desolate mood of the originals but introduce demolition inducing beats which provide the literally irresistible momentum. Echoes of the originals are respected and heard throughout, but the extra gear shifts pay off brilliantly. Guaranteed to push serious air, and test the most powerful of sub woofers, these 4 remixes vary from heavy to superheavyweight. i.e. GHOST DUBS outputs a deliriously stoned headnod with his zonal refix of 'When I'm Gone', which miraculously sounds both subtley mysterious, but monolithically huge, whilst The Bug prowls ice cold, on the noirish, narcotic, instrumental hip hop of 'Too Human', which sounds like prime Mobb Deep mixed by Rhythm & Sound' at 16 bpm. Essential remixes of an already very special album, the original atmosphere is not only captured expertly, it is categorically amplified. LARGE.

A coveted anthology emerging from the cult Sade rework continuum — delivered as a discreet white label artifact seldom encountered in circulation. Practically impossible to source. Within lies a finely shaped arc of expressive reinterpretations, gliding from intimate after-hours textures to enduring, club-focused house expressions. Designed for serious crate explorers, vinyl purists, forward-thinking selectors, and observers of the scene, this pressing embodies a singular blend of atmosphere, intention, and floor dynamics. Issued in strictly scarce quantities — when it disappears, it stays gone.

[k] C3 | DJ Hooligan– Sueno Futuro (Wake Up And Dream) [pink Clouds Mix]

Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba.



What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau.



With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France.

A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool.

In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave.

American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot.

In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound.

Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities.

Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record.


The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel.


However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.”


The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades.


For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil the central station. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix.

There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance.

Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun".

Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu.


But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton.

But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.



Véronique Mortaigne

Get In Where You Fit In, was originally released in October of 1993 and would be his fourth album in a row to be certified platinum. Production was handled by Ant Banks and The Dangerous Crew, which featured live instrumentation, incorporated P Funk samples, and G Funk synths. The lead single "I'm a Player" sampled Bootsy Collins' funky bass of "Hollywood Squares" and Quincy Jones' son QDIII produced the epic Bay Area G Funk laden classic track "Just Another Day". And it wouldn't be a Too $hort record without some pimp and sex tales like "Blow Job Betty", "All My Bitches Are Gone" and the upbeat "Gotta Get Some Lovin". Bay Area legends Spice 1, Ant Banks, and Mhisani aka Goldy join in on the posse cut "The Dangerous Crew" followed by a track with more Bay Area legends Rappin' Ron and Ant Diddley Dog dissin' ex Dangerous Crew member MC Pooh on the title track. Get On Down has repressed this Too $hort 90's fan favorite album on Purple-In-Clear Colored Vinyl.

Mit diesem außergewöhnlichen Doppel-Vinyl lässt sich die Musik aus den ikonischsten Filmen von Clint Eastwood neu entdecken. Als Schauspieler, Regisseur und Produzent zählt Eastwood zu den prägenden Figuren der internationalen Filmgeschichte - und hat über Jahrzehnte hinweg ein ebenso markantes musikalisches Universum geschaffen. Diese sorgfältig kuratierte Sammlung vereint Originalaufnahmen aus seinen Filmen und spiegelt die enorme stilistische Bandbreite wider: von Jazz-Legenden wie Charlie Parker und Duke Ellington über Soul- und Pop-Klassiker bis hin zu Orchesterwerken und traditionellen Stücken. Die Auswahl zeigt eindrucksvoll, wie entscheidend Musik für die Atmosphäre von Eastwoods Filmen ist - mal subtil, mal prägend, immer charakteristisch. Gepresst als hochwertige Doppel-LP auf farbigem Vinyl, ist diese Edition zugleich Sammlerstück und klangstarke Hommage an eine einzigartige Film- und Musiktradition.

Eine Ambient-Symphonie aus ätherischem Verfall, die zum Klassiker des 21. Jahrhunderts avanciert ist. Aufgenommen zu Hause im Jahr 1992 mit einer 12-saitigen Gitarre, einem 4-Spur-Recorder, einem Loop-Pedal, unendlichem Hall und dem strukturierten Gurren der rätselhaften Sängerin Melissa Arpin Duimstra verwandelte Scott Cortez' Projekt ,loveliescrushing" postadoleszentes Tagträumen im Schlafzimmer in ein ruhiges, mondbeschienenes Gleiten auf einem endlosen Meer. Diese erweiterte und remasterte Doppelalbum-Edition enthält fünf weitere, von Verzerrung geprägte Reflexionen aus dem Archiv, zusammen mit Texten und einer Nachbildung einer Postkarte, in denen man sich unterwegs verlieren kann. Hier braucht man keine Augenspülstation - Blindheit ist beabsichtigt.

Sky Blue Opaque Vinyl. Eine Ambient-Symphonie aus ätherischem Verfall, die zum Klassiker des 21. Jahrhunderts avanciert ist. Aufgenommen zu Hause im Jahr 1992 mit einer 12-saitigen Gitarre, einem 4-Spur-Recorder, einem Loop-Pedal, unendlichem Hall und dem strukturierten Gurren der rätselhaften Sängerin Melissa Arpin Duimstra verwandelte Scott Cortez' Projekt ,loveliescrushing" postadoleszentes Tagträumen im Schlafzimmer in ein ruhiges, mondbeschienenes Gleiten auf einem endlosen Meer. Diese erweiterte und remasterte Doppelalbum-Edition enthält fünf weitere, von Verzerrung geprägte Reflexionen aus dem Archiv, zusammen mit Texten und einer Nachbildung einer Postkarte, in denen man sich unterwegs verlieren kann. Hier braucht man keine Augenspülstation - Blindheit ist beabsichtigt.

Nonna Fab returns with the third release on his imprint, Movement and Soul Records, with a 5 track club-focussed EP 'Journey To The Outer Atmosphere'.

Following the success of his last release, we see a deeper dive into the more dance-floor orientated sound that Nonna is curating, spanning deeper soulful house across the release with influences of broken beat, jazz and percussive dance music.

The opening track 'Dawn Chorus' is a trip into a more natural soundscape and deeper arrangement of sound. A perfect track to take a steady dance-floor to higher heights.
The A2, 'Low Winter Sun', aptly named deep house music with no frills. Proper sub-bass tuned for tuned-up soundsystem use.
'Meditations' which is the final track on the A side has clear broken beat influences, percussive, deep and rhythmic. A breather for the dance floor.

The title track of the EP, 'Journey to The Outer Atmosphere' is a big peak time house journey to the cosmos. Expansive synths, 909 kit and if timed well, certified to blow the dance floor up. Clear François K inspiration here.
The final track of the release, 'First Light', is proper deep house music named suitably for an early sun rise roller with a huge hammond organ solo, enough to keep the leavers in the building.